An excerpt from Book I

BEYOND STYLE: The Principles of Martial Science

"The world turns on the ten thousand things;
the pivot on which it turns, verily, is hard to know."

22nd Patriarch of Buddhism in India

Beyond Style
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When we attempt to explain "Beyond Style" we often run into the problem of explaining exactly what we mean. Beyond Style is defined by universal principles that are found in all styles of martial arts. All styles are governed by principles which form the basic foundation on which a particular martial art is built. The principles, however, are often obscured by the techniques which can number anywhere from the hundreds to the thousands, and the variations can progress to infinity. The more one memorizes the less effective the martial art. The ability to react to various spontaneous scenarios by the aggressor sets off a mental search for the proper response. By the time an adequate response is retrieved we have been struck several times and the response scenario has changed. We have been paralyzed not by a shortage of information, but by too much information. Since the principles of a style are fewer in number than the permutations of all possible responses it would behoove us to study the principles underlying all the styles of martial arts. This approach would allow us to understand why and how things work.

Style also determines the way the techniques are applied.

Reality Check
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We practice a technique in the dojo, with a uncooperative partner, and often discover that the technique is difficult, if not impossible, to pull off. When we ask for corrections; the technique begins to work. It is then viewed as a trick (useful for this technique only) and file it away with the other corrections for various applications. Unfortunately, this only adds to the database of tricks which, in time, becomes so large as to be practically worthless.

Once the principles are recognized and assimilated they serve as the rosetta stone for understanding the ambiguous movements in kata and bunkai that often defy solution. The main reason kata interpretations vary, even in the same style, is due in part to not understanding the principles of their construction.

Before we go into a discussion of how and why the principles are constructed we must define the term so we can all start on the same page.

Principle
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Definition: A rule or law concerning a natural phenomenon or the function of a complex system.

Since the martial arts are considered complex systems we will start from this premise.

A complex system depends on many variables but utilizes relatively few principles. The principles are encased in the overall theory of the style. Gojuryu is primarily a close-in fighting style and many people believe that it relies solely on superior strength, stamina, and striking power. That, however, is not the whole story.

There are scientific principles at work that are often obscured by the art form. The smooth efficiency of technique feeds into our belief system a mental image of some special attributes of the performer. It appears as if he or she is performing a feat of extraordinary abilities or may have discovered the secrets of "body magic." In a sense that belief may not be too far from the facts. Extraordinary abilities may be God given but the body magic is learned.

When we investigate the origins of body magic we find that there is a history of people, outside of the confines of martial arts, who discovered the techniques but failed to realize the underlying principles that made them work. The fact that these tricks worked on the majority of people regardless of size and/or strength confused, astounded, and amused audiences throughout the world. Large men struggled to overcome small frail women by sheer size and strength and failed miserably. It wasn't until these tricks were exposed to scientific scrutiny that the underlying principles on how and why they worked allowed investigators to nullify many of these tricks and render them useless. The great magician Houdini devoted one entire chapter to exposing the tricks used by these proponents of body magic . However, exposing the secrets of body magic does an injustice to the efficacy of the tricks themselves. After all, they demonstrated the exact body mechanics necessary for a small weak person to overcome a larger stronger person without the expenditure of vital resources. Exactly what the martial arts attempt to do regardless of style.

Further investigation into why the underlying principles are hidden in many styles is revealed in the mysteries of ancient practices that buried these secrets under the veneer of art forms that took many years to master. It was, however, the art form that first brought the style(s) to the attention of the general public. Just think: An art form that was aesthetically pleasing to our sense of beauty, gracefulness, and power; along with an implicit understanding that the small weak person could overcome a larger stronger adversary fostered a great interest in the martial arts throughout the world. Unfortunately, the principles were so ingeniously hidden that they escaped detection by the average practitioner. So--while we learned the individual techniques, and asked for corrections, the underlying principles remained obscure; forcing us to memorize literally hundreds of techniques and thousands of variations. And that, my friends, leads to an information overload.

KISS
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The acronym KISS (Keep it Simple, Stupid) should be the unifying principle of all martial arts. All the intricate movements requiring fine motor control of the body are limiting in scope when under the extreme stress of actual combat. Adrenaline rush circumvents the use of fine motor control and leaves us with gross motor movements. Our database of hundreds of tricks and thousands of possible variations only serves to slow down our reaction time. We all train for effectiveness, the ability to get things done in the minimum amount of time without wasting vital resources; then we train for the exact opposite outcomes. Could something be wrong here?

A Few Theoretic Principles of Martial Science
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Instant Victory
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Martial Science is based on the theory that all conflict should be terminated instantaneously. This mind set is based on the theory that the longer one fights the more chances there are of being injured either by the opponent, or one of his comrades. The idea of total annihilation, as quickly as possible, is a holdover from the days of ancient warfare. The measured degree of force used is a modern concept fostered by the underlying Buddhist principle of non-violence, and reinforced by cultural morals and laws of the land. Historical evidence indicates that Buddhist Monks formed armed battalions for self defense and as an arm of political and ideological intrigue. This was true both in China and Japan. Thus the non-violent form of Chin Na slowly gave way to a more devastating form of unarmed combat that later became Dim Mak. Keeping this in mind we must view the martial arts as combat arts and never forget the principle of instant victory.

Control
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This brings us to our second theoretic principle: When fighting larger and stronger opponents control their momentum. It is with utmost difficulty that the smaller weaker defender can cope with the size and strength of an opponent without allowing him to gain momentum (P=mv). The defender must render the aggressor's momentum to either 0 or -0 (either static or in retreat). When used at the proper time and with the proper body mechanics this principle not only serves as a physical control but attacks the opponent's mental constructs. He no longer believes he is invincible. This breakdown in physical and mental beliefs also assists in breaking down his fighting spirit; therefore it is a three pronged attack.

Conserving Energy
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The conservation of energy cannot be overlooked. The larger person does not require a great amount of energy to dispatch a smaller weaker opponent. Sheer size and strength will accomplish this task without too much effort. Conversely, the smaller opponent thinks he/she will have to expend all of their energy all of the time just to survive. They are violating the 100-20 rule of energy conservation. Use 100% of your energy against an isolated portion of your opponent's anatomy (20%) to gain superiority. This is accomplished by the scientific application of martial science (the laws of physics and body mechanics). Let us, for a moment, go back to body magic and try to understand how these frail young women utilized the principle of the 100-20 rule to control and frustrate men 2 or 3 times their size without any visible effort.

The Electric Girl
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Example: She would position herself slightly away from the volunteer thereby negating his ability to use his legs and destabilize his central core muscles. In this way he had to lift with the limited capacity of his biceps, which due to his body position, forced him to attempt a 100 LB biceps curl with his triceps unsupported by his body and at the same time fight gravity. This is a most difficult, if not impossible, lift. If the lift was to be done under her elbows she tilted her elbows slightly backward creating a deflection of force and rendering the lifter impotent**. Physics and body mechanics neutralized the greater strength and size of the lifters. No effort was required to stymie all those strong men. Did she understand the principles? It's difficult to know but we could suppose that when her secrets were discovered and no longer worked she could not adjust. Perhaps she just knew how to perform the tricks but didn't understand the principles. Does that sound familiar?

** Note: the biceps lift violates the laws of body mechanics due to the anatomic placement of the biceps attachment to the forearm. The attachment is too close to the pivot point (elbow of the lifter) to exert a great amount of force. The biceps were built for speed not strength. The Electric Girl increased this anatomic weakness by positioning her body further away from the lifter. This is a principle of balance and leverage rather than strength.

Leverage and Torque
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A Lesson
Take a jo or small stick, hold it with one hand at the end and slide a barbell weight onto the stick and place it against the hand holding the stick. Holding the stick away from the body notice that it does not require a great deal of strength to control the stick. Now slide the weight to the middle of the stick. Not only is it more difficult to hold but it tires the muscles of the forearm and after some time the end of the stick begins to tip downwards. Now slide the weight to the end of the stick and it becomes impossible to hold the stick on a level plane [See Body Works for an explanation of leverage and torque]. The Electric Girl, and others, used this principle, and others, to render strong men weak without any apparent effort.

Happo No Kuzushi: Breaking balance in 8 directions
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A human body fighting for equilibrium loses its capacity for offensive and defensive action. If your opponent can neither attack or defend we could conclude he/she is practically helpless. Happo no kuzushi, originally tailored for the grappling arts, is indispensable for close-in fighting. Moreover, without the inclusion of happo no kuzushi there is no real close-in fighting art. Although not explicitly taught in many styles of karate do, close-in fighting encompasses all the principles of happo no kuzushi, and those principles determine the most efficient use of body mechanics. Karate do does not apply the techniques of unbalancing in exactly the same way that it is utilized by the grappling styles. Superfluous moves and complicated techniques are not the epitome of efficiency. The most efficient moves are the basic simple movements that continuously force the opponent to struggle to maintain equilibrium. Therefore, the use of atemi to attack and sticky hands to maintain contact become important principles in the execution of happo no kuzushi. Additionally, the use of the hand or foot closer to the opponent elicits the surprise reflex and presents the illusion of faster than normal speed which, in reality, is not a speed technique at all, but a positional advantage. Complex systems require reduction to simple terms in order to render more efficient outcomes. Efficiency means getting rid of movements that do not work. The inclusion of the "New Age Philosophy" of cooperation, to the detriment of practical applications, does a disservice to all students of the martial arts in that it encourages "magical thinking" which creates the illusion that what is practiced works against a violent, determined, and powerful aggressor. While cooperation is necessary for learning in the early stages of development many martial arts never test this philosophy against a violently resisting partner. I can only guess at the reasons for that mindset.

Optimal Performance (Efficiency)
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Efficiency means no superfluous movements: don't place things where they don't belong. Efficiency means the conservation of energy while generating powerful output. Efficiency means economy of movement: don't jump straight back when you can cut the angle. Efficiency means a natural stance that accommodates offensive and defensive techniques with economy of motion. Efficiency means function over form: if it doesn't work throw it out no matter how good it looks. Efficiency means if it doesn't work for you find another way, but keep it within the guiding principles of physics and body mechanics.

Go with the Flow
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If you always do what you have always done
You will always get what you have always got.

This may be the most difficult of all principles to understand. Martial artists usually practice pre-programmed responses to various scenarios of attack and defense. These managed scenarios train the novice to estimate the proper distance, angle, and power lines to follow according to the doctrine of their style. The downside is that as one progresses a mindset is established that constricts the practitioner to look for the exact responses he/she has been training for. The same applies to attack sequences. This mindset has to be altered when training becomes reality based. In this case one must train to "take what they give you" and maintain a free flow of techniques that depend on the circumstances rather than a plan. More easily said than done. This method of training requires a set of rules that are highly effective and simple to execute. Here we apply Ocum's Razor: complex problems requiring simple solutions.

The Rules of Flow
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Take what they give you (don't force it).

Never attack the center line without a pre-emptive technique.

Always apply sticky hands

The second technique should be utilized with the body weapon closest to the opponent.

Cut the angle (do not allow direct collisions with your opponent).

Break your opponent's balance with atemi when possible.

Conserve energy, (Fa Jing only lasts for a fraction of a second).

Control the head and you control the body.

Study the kata to discover the main principles and the rules. If you just memorize the tricks you will never understand the real meaning of the style you study.

Last, but not least, the principles of Aiki utilizing strategies of avoidance and attack by circular movement. The circular movements are critical in blind side offense and defense. In combatives, the Aiki method protects the defender and, at the same time, sets up the attacker for devastating counters. Aiki movements of escape and evasion are indispensable when attacked by multiple assailants or extremely strong individuals.

END of DOCUMENT

A Word from the Author
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This is an abridged version of a Chapter from Beyond Style: Principles of Martial Science. It is not a manual of How to Do. Many citations and references have been omitted. There are no graphics or video snippets. It is a memory booster for those practitioners who have attended class sessions.

A martial art should be viewed in its proper context; not viewed as a vast collection of empty exercises. Scientific applications span all styles. The secrets are in the kata if one knows where and how to look.

Train intelligently

Copyright ©2000 Chris De Baise
All rights reserved
No portion of this document may be reproduced without written consent by the author